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Iron tsuba of slightly elongated round form (nagamaru-gata) pierced on top and in the bottom (ko-sukashi) with simplified Genji-kō (incense game symbol) and two petals of bellflower; openings, seppa-dai, and plate along the rim are outlined with brass wire, kozuka-ana outlined with scalloped brass wire, missing on the front; kogai-ana pierced later. The plate is slightly concave with traces of lacquer, decorated in brass (suemon-zōgan) with tendrils, bellflowers, and Genji characters, and with brass dots (ten-zogan), many of which are missing. Measurements: Height 77.5 mm; Width 75.5 mm; thickness at seppa-dai 2.4 mm, at rim 3.2 mm. Time: Late Muromachi (1514 – 1573) or earlier. -
Iron tsuba of almost round form with a brass outlined circular opening (sukashi) in the bottom adorned with the Myriad Treasures [takaramono, 宝物] and winter motifs inlaid in cast brass (suemon-zōgan); hitsu-ana possibly cut later, both plugged with shakudo, nakaga-ana fitted with copper sekigane. According to Merrily Baird*) (2001), the symbolism of Myriad Treasures “is associated with the Seven Gods of Good Luck, who carry them in a sack”. Among the treasures, which are said to ensure prosperity, long life, and general good fortunes, are (reading clockwise from the top):- Sake set [shuki, 酒器], namely flask, ladle, and cups
- Cloves [choji, 丁子]
- Purse of inexhaustible reaches [kinchaku, 巾着]
- Magic mallet [kozuchi, 小槌]
- Key to the storehouse of the Gods [kagi, 鍵]
- Rhombus, or Lozenge (hosho, 方勝), with the second ideograph meaning victory.
- Sacred (or wish-granting) gem, or jewel [hōju, 宝珠]
- Hats of invisibility [kakuregasa, 隠れ笠]
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Iron tsuba of a round form (maru-gata) pierced (sukashi) with two six-petal flowers at 6 and 12 o’clock and modified lozenges at 3 and 9 o’clock, and inlaid in brass (suemon-zōgan) with tendrils and flowers (chrysanthemum, cherry blossom, Chinese bellflower, paulownia); openings outlined with scalloped brass wire. The plate is slightly concave with traces of lacquer on the surface. Nakago-ana plugged with copper sekigane. Some elements of inlay missing. The rim with conspicuous tekkotsu, quite worn. Measurements: Height 92.0 mm; Width 86.3 mm; thickness at seppa-dai 3.2 mm, at rim 4.2 mm. Time: Late Muromachi (1514 – 1573) or earlier. -
Iron tsuba of a spindle shape (tate-itomaki-gata) pierced and inlaid in brass suemon-zōgan with bellflowers, vines and foliage, and a dragonfly in the upper right corner, on both sides. One of the hitsu-ana plugged with grey metal (led or pewter), nakaga-ana fitted with copper sekigane. The shape of the tsuba may be interpreted as four saddles connected to each other by horse bits. Such a design of sukashi and zōgan is usually attributed to Kaga Yoshirō branch of Heianjo school, active in the second half of the 17th century (c. 1650-1700). Size: 95.9 mm diagonal; 4.1 mm thickness. Tokubetsu Kicho certificate № 332 issued by NBTHK on October 12, 1965. -
A shakudō kozuka decorated with equestrian tack inlaid in raven black shakudō, gold uttori and a silver alloy on a nanako ground. Unsigned. Attributed to Goto Joshin (Japanese, 1513 – 1562), 3rd generation Goto master. Late Muromachi period, Tenbun era (c. 1550). Size: 96.7 x 14.4 x 4.9 mm. Tokubetsu Hozon certificate № 2004230 issued by NBTHK on May 10, 2017. For a detailed explanation of terms see: Sesko, Markus. Handbook: Of Sword Fittings Related Terms. Germany: Books on Demand, 2011. -
Iron tsuba of round form pierced (sukashi) in a chessboard fashion and decorated with linear (sen-zōgan) and cast (suemon-zōgan) brass inlay, including symbols of the swastika, flower-lozenge, maple leaf, pine needle, etc. on both sides; rim and openings outlined with brass inlay. Nakagō-ana plugged with copper fittings (sekigane).
Momoyama period. End of the 16th - beginning of the 17th century. Dimensions: Diameter: 75.5; Thickness: 4.5 mm. -
Iron tsuba of round form, slightly convex, decorated with persimmon (kaki), simplified Genji-kō (incense game symbol) and halves of plum blossoms (ume) in brass inlay on both sides, and with part of bellflower (kikyo) in openwork. Outer rim, seppa-dai, bellflower openwork, and kozuka-ana outlined with brass inlay; traces of lacquer to surface. The symbolic meaning alludes to Chapter 20: Asagao (朝顔, the bellflower or "morning face") of Tale of Genji by Murasaki Shikibu (11th century AD). The events take place in the 9th lunar month (Nagatsuki) and involve the following poetry by Prince Genji: saku hana ni / utsuru chō na wa / tsutsumedomo / orade sugiuki / kesa no asagao [I would not have it said / that my heart has turned toward / a flower in bloom — / yet how hard it is to pass / without plucking a “morning face”!]. Measurements: H: 76.6 mm; W: 76.3 mm; Th.: 3.6 mm (seppa-dai), 3.0 mm (rim) Time: Late Muromachi (1514 – 1573). -
Iron tsuba of quatrefoil form (mokka-gata) adorned with the design of stars, wild geese, blossoms, leaves and tendrils realized in the brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. A smaller opening (kozuka hitsu-ana) surrounded by a scalloped brass border. The seppa-dai bordered with linear inlay. A few dots of inlay on both sides are missing. Measurements: height 71 mm, width 70 mm, thickness at centre 2.7 cm Time: Late Muromachi (1514 – 1573) -
Iron tsuba of round form adorned with the design of stars, wild geese, floating blossoms, leaves and tendrils realized in brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. Two smaller openings (hitsu-ana) surrounded by a scalloped brass border. The seppa-dai border inlay is missing, as well as a few other fragments of inlay on both sides. Sword cut at 12 o'clock on the reverse. A tsuba with a strong autumnal connotation, which once belonged to a great battle weapon. One of only three known jūyō Ōnin tsuba. Translation of the paper, issued by the Japanese sword fittings (tosogu) examination board: Designated as jūyō-tosogu at the 34th jūyō-shinsa held on April 14th 1988 Kaki-karimon zōgan-tsuba (花卉雁文象嵌鐔) — Tsuba with zōgan design of flowers and wild geese. Mumei: Onin (応仁) Tokyo. Nakasono Tokumi (中園とくみ) Measurements: height 9.5 cm, width 9.4 cm, thickness at rim 0.35 cm Interpretation: marugata, iron, brass zōgan, two hitsu-ana Time: end of Muromachi Explanation: Ōnin-tsuba are thin iron ita-tsuba which show a brass zōgan ornamentation. All of them are mumei and there is the theory that they were made in the Onin era (1467-1469) although today more and more the theory is accepted that they are in general late Muromachi period works. There are two kinds of brass zōgan interpretations: One depicts irregularly arranged tachibana branches, wild geese, chrysanthemums, flowers, or karakusa for example, and the other one shows punctual zōgan elements, which are referred to as hoshi-zōgan or ro-zōgan, and concentrical zōgan elements between the nakago-ana and the rim. The latter interpretations might also be accompanied by simple ko-sukashi in the form of butterflies, clouds, hats, or stylized mountains. This tsuba is a typical work from the former category. It is large and feels massive and the powerful and impressive zōgan and the excellent iron make it a highly tasteful piece. Back side: Issued to: Nakasono Tokumi Address: Tokyo-to, Suginami-ku, Kamitakaido 2-17-26 Date of issue: May 30th 1989 -
Small iron tsuba (tantō size) of oval form carved with imitation of six overlapping plates, decorated with paulownia blossoms, leaves, and tendrils in brass and copper hira-zōgan. Copper sekigane. Open kozuka hitsu-ana.
Early Edo period, 17th century.
Size: 50.5 x 34.0 x 4.9 mm.
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Small iron tsuba (tantō size) of aoi form with the design of paulownia leaves and blossoms in copper and brass flat inlay (hira-zōgan). Brass sekigane. Open kozuka hitsu-ana.
Early Edo period, 17th century.
Size: 53.4 x 40.7 x 4.4 mm; weight: 47.4 g
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Iron tsuba of round form pierced (sukashi) and inlaid in flat (hira-zōgan) and cast brass (suemon-zōgan), details carved in kebori, with design of two phoenixes, bamboo, and paulownia leaves and flowers (kiri-mon) on both sides. According to seller: Bizen-Yoshirō school (or Heianjō school). Unsigned.
Momoyama period. End of the 16th - beginning of the 17th century. Dimensions: Diameter: 99.5 mm; Thickness: 2.1 mm at centre; 4.3 mm at the rim. According to Merrily Baird (Symbols of Japan), "bamboo teamed with paulownia blossoms or with paulownia and the phoenix, in reference to the Chinese legend that the phoenix perches only on the paulownia and eats only the bamboo". Citation from http://www.clevelandart.org/art/1986.2.1: "The immense heraldic birds on display [...] reflect the Momoyama era's spirit of newly gained self-confidence and an affinity for grand expressive statements in painting, architecture, the textile and ceramic arts, as well as garden design. While that period preceded the arrival of prosperity, it clearly marked an extraordinary moment in Japanese cultural history, one frequently compared with the twelfth century of the Heian period. [...] Rather than an emblem of immortality, as it is in Western lore, in Japan, the phoenix evolved out of its origins in Chinese mythology to become, by the sixteenth century, an auspicious symbol of political authority. Together with clusters of the distinctively shaped paulownia leaves, this long-tailed, mythical bird [...] proclaiming an air of graceful command". -
Iron tsuba of mokkō form (mokkōgata) pierced (sukashi) and inlaid with precast dark brass inlay (taka-zōgan) with somewhat abstract/geometrical design that can be liberally described as pines, mist, and snow.
Momoyama or early Edo period. End of the 16th - beginning of the 17th century. Heianjō school. Unsigned. Dimensions: 86.8 x 82.9 x 4.5 mm. -
Iron tsuba of round form inlaid with brass and shakudo (suemon-zōgan) with a design of tendrils, leaves, double gourds, and folding fan with two wild geese on the face and the same design only with a fan with two interlocked rings (wachigai) on the back. Design is supplemented with a round family crest (mon) of three fans in openwork (sukashi). Hitsu-ana and the mon are outlined with brass rope. Copper sekigane.
Some attribute such tsuba as belonging to Heianjō or even Yoshirō School, and date them to Momoyama period. I keep this piece under Ōnin rubric, late Muromachi, but this is just a question of personal preference.Some inlay is missing, some repaired; traces of rust. Otherwise - decent condition.
Late Muromachi period (1514-1573). Size: 77.4 x 77.1 x 3.8 (center), 3.2 (rim) mm -
Large and thin iron tsuba of round form (width > height) decorated with the design of a tiger sheltering in bamboo in suemon-zōgan brass inlay. A fragment of tail inlay is missing. Bamboo leaves on the reverse. According to Merrily Baird [Symbols, p. 166], tiger sheltering in bamboo symbolizes "weak giving shelter to the strong". Momoyama period. Unsigned. Dimensions: 90.8 x 91.2 x 3.4 (center), 3.1 (rim) mm. Custom wooden box. NBTHK Certificate № 4001593. -
Iron tsuba of otafuku-gata form decorated on the face with death and autumn motifs: autumnal grasses and flowers in yellow brass and shakudō, skull, limb bone and sternum inlaid in shakudō. On the reverse the plate is inlaid in red copper with a chrysanthemum and maple leaves floating in stylized water streams. "Plants floating atop water form common motifs, as occurs with chrysanthemums, maple leaves, and cherry blossoms, in particular." [Merrily Baird]. Such plants may be used as a family crest (mon), or may be just a reminder of a floating nature of life. Momoyama period, late 15th century. Dimensions: 75.3 x 69.9 x 4.3 mm. -
Iron tsuba of round form represents an eight-spoke Wheel-of-the-Law and in the same time (because of the inner shape of cut-outs) - a sixteen-petal imperial chrysanthemum in openwork (sukashi). Decorated on both sides with vines, leaves, and tendrils in suemon-zōgan and sen-zōgan. Spokes and hitsu-ana decorated with rope-like linear brass inlay (nawame-zōgan). A somewhat look-a-like tsuba is referenced in Gary D. Murtha's Japanese Sword Guards. Onin-Heianjo-Yoshiro book on page 61. Mr. Murtha attributes his piece to Heianjo school of Azuchi-Momoyama or early Edo period. However, tsuba in this collection looks older and bolder than the one in his book. It is larger (84 mm vs. his 66 mm), the spokes are longer, the inlay is of better quality, it is relatively thin, with deep black patina, and with the traces of lacquer (urushi). This may indicate that this tsuba belongs to Ōnin school and dates at least to late Muromachi period, ca. 1550, if not 1450 AD. Mid to late Muromachi period (ca. 1450-1550). Dimensions: 84.3 x 83.2 x 3.2 mm "In Japan, the Wheel-of-the-Law is an attribute of such deities as Senju Kannon, the Thousand-Armed Kannon, and Dainichi Nyorai, the principal deity of Shingon Buddhism [Merrily Baird]. May be used as a family crest (mon).
Gary D. Murtha's tsuba on page 61.
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Iron tsuba of round form with dam-shaped rim (dote-mimi) pierced with hitsu-ana and two udenuki-ana (probably cut later on) decorated in flat inlay (hira-zōgan) with vines and symbols of thunder or lightning (possibly - family crest, mon). Hitsu-ana and nakago-ana with copper sekigane.
Ōnin or Heianjō school, or, possibly Kaga or Umetada school. Momoyama period or earlier (Muromachi), 16th century. Unsigned.Size: 64.5 x 63.8 x 2.2 (center), 4.2 (rim) mm.
Provenance: Lundgren Collection: [Japanese sword-fittings and metalwork in the Lundgren Collection. Published by Otsuka Kogeisha Co., Ltd., Tokyo 1992], №31; The Lundgren Collection of Japanese Swords, Sword Fittings and A Group of Miochin School Metalwork. Christie's Auction: Tuesday, 18 November 1997, London. Sales "GOTO-5881". Christie's, 1997, №2. Lundgren's description at Christie's: Heianjo tsuba. Unsigned. The circular plate decorated in brass hirazogan with flowers, plants and symbols of thunder, dote mimi and udenuki ana, late Muromachi period (16th century). Tokyo 1992 description: Sword guard with design of flowering plants and frets in inlay. Unsigned. Heianjo inlay school. 6.35 x 6.3 cm, thickness of rim 0.40 cm. Iron. Flat brass inlay. Muromachi-Momoyama Period, 16th century. Provenance: The Second John Harding. A somewhat look-a-like pieces can be found in various catalogues. The one in Naunton Collection, №172, is signed: Umetada of Yamashiro: "Iron, small, almost circular, with raised oval rim, inlaid all over with leaves and scrolls in brass hirazōgan."
